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List of results

• Bhur  + (underworld world of demons)
• Matektekan  + (up into small pieces, build something)
• Sibuh pepek  + (used to pour holy water through kuskusan durmanggala at time of nglukat ceremony)
• Gandawari  + (veil (curtain screen); wall mounted on the sides of building that contain corpse or body towers)
• Sasaka  + (vertical posts that support roof of a building and to which wall plates (lambang) are attached)
• Nyimpangang adegan  + (visit of adegan to previous homes before cremation)
• Ngunya  + (visit)
• Majenukan  + (visit, usually bringing a present)
• Natab  + (waft essence of an offering toward a person, or toward oneself (but not toward gods). Compare to ngayab, which refers to the same motion, except directed away from oneself or away from someone else or offerings, toward god.)
• Ngayab  + (waft the essence of an offering away from the offering toward gods)
• Ngulapin  + (wave)
• Makalakala  + (wedding, purification ceremony at wedding, various parts)
• Sambut  + (welcome)
• Mamendak  + (welcome)
• Nyanggra  + (welcome; welcoming; greet)
• Pamendak  + (welcoming, offering made to welcome gods' arrival at temple)
• Pangalang-alangan  + (whipping with lidin ron done at makalakala ceremony during wedding)
• Pepekuk  + (woman belt used to made from metal, and used during cutting tooth ceremony)
• Makarya  + (work)
• Ngayah  + (work without pay, contribute work, (temple))
• Gegaen  + (work, occupation)
• Gae  + (work, profession, ceremony)
• Duegan  + (young coconut used at the ceremony)
• Resi Gana  + (‘bhuta yadnya’ ceremony which is bigger than ‘panca sata’)
• Mundak sari  + (“mundak (a building with six pillar) that walled the upstream and half in the side)

• Bale manguntur  + (the eighteen-mast building faces south where the gods dwell at the Batara Turun Kabéh ceremony)

• Bale sakutus  + ((balé sakutus/saka kutus) - building houses that have eight poles, usually used as a bed)
• Conge-conge  + ((congé-congé) - a tree insect that makes this onomatopoeic sound, also part of the nyolong offering for the bulan pitung dina ceremony)
• Moton  + (210 days of birth ceremony)
• Nasi yasa  + (A portion of rice given to the prayers and those who helped during the preparation of ceremony, which is given after the Saraswati ceremony is done.)
• Mabiakala  + (Buta Yadnya ceremony in which an offering, biakala, is used as a preface to other ceremonies, e.g. on Penampahan Galungan, at a caru, etc.)
• Andong  + (Cordyline is a genus of about 15 species o … Cordyline is a genus of about 15 species of woody monocotyledonous flowering plants in family Asparagaceae, subfamily Lomandroideae. The subfamily has previously been treated as a separate family Laxmanniaceae,[2] or Lomandraceae. Other authors have placed the genus in the Agavaceae (now Agavoideae). Cordyline is native to the western Pacific Ocean region, from New Zealand, eastern Australia, southeastern Asia and Polynesia, with one species found in western South America. The name Cordyline comes from the Greek word kordyle, meaning "club," a reference to the enlarged underground stems or rhizomes.he enlarged underground stems or rhizomes.)
• Megibung  + (Eating in a small group together, especially during a ceremony, or when receiving guests. This is a Karangasem style ritual of sharing a meal, started as a tradition by the King of Karangasem after a war with Lombok.)
• Tumpek landep  + (How is Tumpek Landep associated with Keris … How is Tumpek Landep associated with Keris?</br>These days, when people hear the words ‘Tumpek Landep’, we think of a ritual ceremony that involves blessing cars and motorbikes, pampering them with organic offerings that serve to protect us from potential accident or misfortune. Whilst we probably definitely need to pay more attention to the appeasing of the ‘demons of the road’, this is actually not the complete picture.</br></br>Society’s lack of awareness about the meaning behind Tumpek Landep has been much criticized many educated Balinese. If we break down the words, ‘Tumpek’ means the particular day on the Balinese Çaka calendar that this ceremony falls on which is always a Saturday, and ‘Landep’ means a time to celebrate man’s sharp thinking that has led us to make use of metals that we use in our everyday lives. (Jero Mangku Sudiada, www.parisada.org).</br></br>In the past, one of the most celebrated iron weapons was the Indonesian keris, a powerfully magical dagger that has captured the imagination of people for centuries. Balinese attribute our sharp wits to God who chose man as the only living creature on Earth who could make use of the fruits of the Earth to progress his species. For the Balinese, this sharp-wittedness is symbolized by the keris, hence it is blessed with holy water and special offerings every Tumpek Landep.</br></br>Somehow (I’m not entirely clear on this bit), over time, everything made from iron, including the vehicles we drive were brought into the ritual. It actually makes sense that this can happen because it is indeed due to our brilliant minds that we can use metal to create vehicles and so forth; therefore could this mean that anything made from metal that is a human creation be theoretically be blessed on this day? I guess time will tell as ritual ceremonies, like much of Balinese culture is modified and adapted to suit time, place and situation.</br>Copyright © Kulture Kid 2011nd situation. Copyright © Kulture Kid 2011)
• Nira  + (I; me (Balinese kawi language, usually used by higher classes such as kings and gods when speaking to lower groups))
• Indra  + (Indra was the chief of the Aryan gods)
• Eka Dasa Rudra  + (Largest of the state-wide Balinese ceremon … Largest of the state-wide Balinese ceremonies that is supposed to be held once every 100 years at Pr. Besakih, culminating on Tilem Kesanga. The last such ceremony was held in 1979, with its climax on Tilem Kesanga, March 28 eka Dasa, meaning eleven, refers to the eleven directions, the four cardinal points, the four intercardinal points, up, down, and center. Rudra refers to Siwa in his destructive form as the Aryan god Rudra. Previous to 1979 the ceremony was held in 1963 because of especially inauspicious circumstances, but it was interrupted by the eruption of Gunung Agung.terrupted by the eruption of Gunung Agung.)
• Lawar  + (Lawar is a dish that typically contains ra … Lawar is a dish that typically contains raw blood, served at a mebat along with other ceremonial dishes. Unconnected to ceremony, lawar sold at warungs and markets is served with rice, containing cooked slivers of unripe fruit, such as papaya or jackfruit, plus cooked chicken meat and raw blood and spices.ked chicken meat and raw blood and spices.)
• Nunas baos  + (Lexically consists of the word nunas which … Lexically consists of the word nunas which means to ask / beg and the word baos which means words / words. This term refers to a ritual to communicate with the existence of the supernatural world, usually balian or paranormal will try to communicate with spirits, gods and goddesses, bhatara bhatari or inviting the spirits of the ancestors from the family who come to them, with mystic abilities and spells. In this ritual, the body of Balian or Jero Dasaran will be possessed by the spirit or ancestor invited. After that the family members who come are welcome to ask questions or their purpose of inviting them to be present in the world. Questions generally revolve around the cause of a catastrophe, illness or death or other things that might be a wedge in their hearts.ngs that might be a wedge in their hearts.)
• Brahma  + (Lord Brahma ; god of the South)
• Abenang  + (Make a ngaben ceremony)
• Plutuk  + (Manuscript containing offerings for the yadnya ceremony)
• Utara  + (North, East, South, West (Kawi))
• Nyegara gunung  + (Nyegara Gunung is a Balinese Hindu philosophy that between the sea (segara) and the mountain (gunung) is an inseparable unity. Therefore, every action on the mountain will have an impact on the sea. Vice versa.)
• Kawi  + (Old Javanese language based upon Sanskrit, that evolved in South India and was transmitted to Java)
• Serani  + (Part of the Manyipi (Manyepi?) ceremony, involving women in a circle bringing offerings; may derive from Sanskrit 'road')
• Mendet  + (Pendet, welcoming dance for gods usually performed at an odalan)
• Tampyas  + (Rain that comes through/splash through open parts of a house/building)
• Kamasan  + (Style of painting. Imagine you are a mast … Style of painting. </br>Imagine you are a master Balinese painter, and your King has recently commissioned you to do a piece of work.</br>As you sit down in front of a large cloth stretched upon a wooden frame with a pencil in hand, for a moment you contemplate the composition before beginning to sketch. The year is 1723. What would go through your mind?</br></br>Possibly you hear the clash and bang of metallic instruments of a Balinese ensemble. You visualize the cloth in front as a giant screen, with an audience seated on the opposite side. And you imagine yourself as a dalang (master puppeteer) manipulating puppets while bringing to life a mighty Hindu epic during a wayang kulit shadow theatre play.</br></br>Origins </br></br>The roots of the wayang puppet theatre, one of the original story-telling methods in the Balinese culture, may be traced back over 2,000 years to Indian traders who settled in Nusa Antara (Indonesia prior to being known as the Dutch East Indies), bringing with them their culture and Hindu religion. The wayang or classical style of Balinese painting is derived from the imagery that appears in this medium.</br></br>The paintings were made on processed bark, cotton cloth and wood and were used to decorate temples, pavilions, and the houses of the aristocracy, especially during temple ceremonies and festivals. Originally the work of artisans from the East Javanese Majapahit Empire (13-16th century), this style of painting expanded into Bali late in the 13th century and from the 16th to 20th centuries, the village of Kamasan, Klungkung, was the centre of classical Balinese art – and hence the Kamasan paintings.</br></br>The original works were a communal creation; the master artist shaped the composition, sketching in the details and outlines, and apprentices added the colours. These works were never signed by an individual and considered a collective expression of values and gratitude from the village to the Divine. Colours were created from natural materials mixed with water; i.e. iron oxide stone for brown, calcium from bones for white, ochre oxide clay for yellow, indigo leaves for blue, carbon soot or ink for black. Enamel paint introduced by the Chinese a few hundred years ago was used on wooden panels of pavilions and shrines, or upon glass.</br></br>Divine and demonic</br></br>The highly detailed, sacred narrative Kamasan paintings play an essential role within the Balinese culture functioning as a bridge communicating between two worlds: the material world humans inhabit and the immaterial world of the divine and demonic forces.</br></br>The artist functions as a medium translating the esoteric and invisible into a comprehendible visual language and bringing greater understandings to the mysteries of life according to scriptures and philosophies.</br></br>According to Dr. Adrian Vickers, Professor of Southeast Asian Studies at Sydney University, “The key to Kamasan painting’s sense of beauty is the beautiful flow of line and the pure flat figuration.”</br></br>For foreign audiences, the paintings, however, present difficulties in their understanding. Without a concept of the landscape in Balinese paintings, it’s about an arrangement of items on a flat surface akin to the shadow puppets against the screen in shadow theatre. Unlike Western modern art where paintings generally have one focal point, there is no central focal point to read the Kamasan narratives. Most of the paintings have multiple stories that may be read in all areas around the composition.</br></br>Looking at the painting, it is full of visual information to the extent that nothing stands out. Tight, generalized, often repetitive patterning, often of decorative motifs and combinations of graphic patterns are distributed all across the surface leaving little or no blank areas. Ornamental elements, rocks, flowers motifs and painted borders indicate Indian and Chinese influence from Chinese porcelain and Indian textiles.</br></br>“Adherence to established rules about the relative size of parts of figures related to measurements in the human body – in the Balinese perspective each measurement is seen as a human manifestation of elements that exist in the wider cosmos. Correctness of proportions is part of being in tune with the workings of divine forces in the world. Colours are also codified.” says Vickers in his book Balinese Art Paintings & Drawings of Bali 1800-2010. “Form evokes spirituality.”</br></br>The three realms</br></br>The two-dimensional Kamasan compositions generally depict three levels: the upper level is the realm of the Gods and the benevolent deities, the middle level is occupied by kings and the aristocracy, and the lower third belongs to humans and demonic manifestations. Details in facial features, costumes, body size and skin colour indicate specific rank, figure or character type. Darker skin and big bodies are typical of ogres, light skin and finely portioned bodies are Gods and kings. Rules control the depiction of forms; there are three or four types of eyes, five or six different postures and headdresses. The position of the hands indicates questions and answers, command and obedience.</br></br>The narratives are from the Hindu and Buddhist sacred texts of Javanese-Balinese folktales and romances: the Ramayana, Mahabharata, Sutasoma, Tantri, also from Panji. Astrological and earthquake charts are also depicted. Major mythological themes are rendered in great symmetry, while these paintings contain high moral standards and function to express honourable human virtues to society with the intent to encourage peace and harmony. A beautiful painting communicates balance, aesthetically and metaphorically, and is equated to the artist achieving union with the divine.</br></br>Traditional Kamasan painting is not static and keeps evolving as subtle changes have occurred over time as each artist has their own style, composition and use of colour. It is common that new works regularly replace old and damaged ones and hence Kamasan painting is an authentic living Balinese tradition.</br></br>https://indonesiaexpat.id/lifestyle/kamasan-paintings-bali/esiaexpat.id/lifestyle/kamasan-paintings-bali/)
• Tabuh rah  + (The ceremonial spilling of blood performed usually with a regulated series (i.e., no sanctioned gambling) of three cockfights (tajen), done to appease the ground spirits (buta kala) before a major temple ceremony such as a piodalan.)
• Bulan pitung dina  + (a baby ceremony conducted 42 days after birth, at which time the offering banten colong anak cenik is made)